Author: Guoyan Wang – Soochow University, China


  • Lingfei Wang – University of Science and Technology of China, China

Problems around genetically modified organisms (GMOs) are becoming increasingly acute in China. To better understand the situation, 257 GMO cartoons were collected from various Chinese online sources. The comics collected were mainly published between 2013″“2017. Image coding was completed independently by five, well-trained graduate students, according to the following variables: figures in the pictures,story context,GMO carrier, scary information attitude to GMOs, source of comics, and theme. The validity test result showed that the coders”overall coding consistency reached 92.8%.

From the perspective of content, it was found that 84.5% of the cartoons involve genetically modified (GM) food, mainly plant-based food, and 62.9% of the cartoons present food consumption environments. “To eat or not to eat GMOs” is an issue of common concern in China.

The Chinese media and the public are demonstrating increasing skepticism of and opposition to GMOs. Only 15% of the total samples of comics show GMOs in a positive light, and, while the mainstream media are fairly neutral, social media tends to present more hostile views. In terms of theme, mainstream media tend to present the dilemma in choice but also promote GMOs, while social media posts mostly focus on the themes of health risks and conspiracy theories.

The tendency to politicize GMOs has been vividly depicted in many Chinese GMO comics. Controversial topics such as the “golden rice” incident and the return of GM maize in the United States have provided space for political conspiracy theories to spread. Scientists supporting GMOs have been criticized by the public under suspicion of betraying their country. The issue of GM food in China, therefore, reflects strong political problems.

The author has not yet submitted a copy of the full paper.

Presentation type: Individual paper
Theme: Technology

Author: Guoyan Wang – University of Science and Technology of China, China

Jiafei Shen – University of Science and Technology of China

The golden ratio plays an important role in harmonious aesthetics. However, because of ambiguity in empirical evidence, it is often critiqued and thus quite controversial. Some researchers have attempted to analyze the golden ratio using a large variety of persuasive analytical methods of sample statistics but have only obtained evidence against the golden section in art. Examples of the golden ratio in both the natural and man-made world can always be found while no persuasive empirical evidence has been presented thus far.

The object of this study is one of the oldest visual arts: Chinese landscape paintings, which convey the eastern beauty of “psychological harmony”. Using computer image recognizing and processing technology to quantitatively analyze their typical characteristics, we analyze 710 paintings from the Palace Museum and the National Art Museum of China. In particular, we apply blank-leaving to comprehensively analyze the pixels of the paintings. The data shows that the quantified blank-leaving in classical landscape paintings is in accordance with the golden ratio of mathematics. The paintings range in date over thousands of years and this emphasizes a stable painting composition style, thus providing statistical, empirical evidence for the universality of the golden ratio in Chinese landscape paintings.

In addition, the data reveals that, in the past century, the blank-leaving of modern landscape paintings has gradually deviated from the golden ratio and the painting composition style has shown a trend of diversification. This reflects that classical visual arts have been greatly impacted by the modern pluralistic trend of thought.

The author has not yet submitted a copy of the full paper.

Presentation type: Individual paper
Theme: Society
Area of interest: Comparing science communication across cultures

Author: Guoyan Wang, Department of Scinece Communication, University of Science and Technology of China, China

Science and art, which like two sides of a coin are often combined together since the development of technology on computer graph since 1970s. For some top scientific journals such as Nature, Science and Cell (CNS), the images used on the cover are not only a display of the journal’s creation style, but also a visualized carrier of the scientific results, which are often submitted by the research team themselves and created by some artists. After published on academic journals, the image and the science achievements then become sci-tech news to the public via mass media.

The author has worked on more than twenty forefront science achievements, created vivid images for cover story of Nature, Science and scientific news image. According to our statistical analysis, the impact of the cover story article is much higher than that of the common articles in the same journal according to five-year citations, which may come from both the editor’s excellent judgement about the most significant paper and the alert of value by its appearance as a cover story. The degree of visualization used for top journals is generally higher than that used for regular journals. Furthermore, quantitative analysis also supports that significant differences do exist in visualization among various disciplines in both top 20 journals in Journal Citation Reports (JCR) and all scientific journals in the National Library of China. Some disciplines are more likely to express the substance and thus have higher degrees of visibility, while some others are more abstract and could only be expressed from the perspective of attribute and relationship, thus showing lower degrees of visualization.

Supported by the Chinese National Fund of Social Science: Visual communication research on cutting-edge science achievements, (grant 14CXW011); Science Communication Program of the Chinese Academy of Sciences: Beautiful cutting-edge science (grants KP2015A12).